Die Marianische. Par SCHNEIDER ENJOTT. Comme la contrepartie de l'orgue Symphonie #1 Pater Noster (ED 9937), l'orgue Symphonie #2 offre plus douces et plus mystérieuses (mariales) sonores mondes, esquisse des étapes de la vie de Mary : une adoration Salve Regina se développe à partir de la source mystique, suivie pour Berceuse Marie comme une berceuse les événements de Noël. Le troisième mouvement Mater Dolorosa retombe sur la séquence de grégorien célèbre Stabat Mater, prenant la douleur de Mary à la Croix comme thème central. La finale traite l'Ave Maris Stella dans un crescendo de pp à ff de manière positive et solennelle, à la mémoire de l'hypothèse de Mary. Il est conseillé d'utiliser un orgue avec au moins trois manuels./ Répertoire / Orgue

MOTOWN & POP CLASSICS Part-Time Love Bird Of Beauty Creepin' That Girl Too High What's Going On? I Heard It Through The Grapevine How Sweet It Is Knock On Wood Hold On, I'm Coming What's Love Got To Do With It Respect Dancing In The Street Heat Wave and many more!! BLUE NOTE & JAZZ CLASSICS Classic Blue Note Tunes by: Joe Henderson (Inner Urge, etc.) Art Blakey (Backstage Sally, etc.) Lee Morgan (Ceora, etc.) Jackie McLean (Kahlil The Prophet, etc.) Bobby Hutcherson (Herzog, etc.) Freddie Hubbard (Blue Spirits, etc.) Wayne Shorter (Black Nile, etc.) Herbie Hancock (Dolphin Dance, etc.) Horace Silver (Opus De Funk, etc.) Contemporary Jazz Tunes by: Chick Corea (Litha, Chick's Tune, etc.) John Coltrane (Grand Central, etc.) Bill Evans (Since We Met, Emily, etc.) Miles Davis (So Near, So Far, etc.) Yellowjackets (Freedomland, etc.) Kenny Kirkland (Midnight Silence, etc.) Maria Schneider (Gush, etc.) Bob Berg (Promise, etc.) Tom Harrell (Sail Away, etc.) and Many more!! CHOICE STANDARDS Gentle Rain Caravan You Must Believe In Spring I Fall In Love Too Easily I Hear A Rhapsody If You Could See Me Now Prelude To A Kiss Invitation In A Sentimental Mood Just Friends You Stepped Out Of A Dream The Lamp Is Low Moon And Sand On Green Dolphin Street The Second Time Around Laura This Is New Stompin' At The Savoy Sweet Lorraine For All We Know Spring Is Here Star Eyes Stars Fell On Alabama That Old Feeling You've Changed and many more!!

Terri Lyne Carrington, Founder and Artistic Director of the Berklee Institute of Jazz and Gender Justice, has curated a wide range of jazz compositions written by women composers, from obscure to popular, historic to current, blues to bebop, and beyond in this important collection. These compositions are supplementary and alternatives to the “jazz standard” canon that has served students, teachers and professionals throughout the development of jazz music. The compositions span nearly a century, including Lil Hardin Armstrong's work from 1922 to songs written in 2021 by recent Institute graduates. It features 101 compositions from a remarkable range of acknowledged titans, young visionaries and unsung heroes in jazz: Mary Lou Williams, Alice Coltrane, esperanza spalding, Geri Allen, Maria Schneider, Cecile McLorin Salvant, Cassandra Wilson, Dianne Reeves, Dorothy Ashby, Nubya Garcia, Nicole Mitchell and many others. The book includes a 1922 piece by the influential Lil Hardin Armstrong and songs written in 2021 by emerging artists from Carrington's Berklee Institute of Jazz and Gender Justice. New Standards also celebrates the global world of jazz, from Chilean tenor saxophonist Melissa Aldana to Japanese American pianist Toshiko Akiyoshi and other international composers. / Instrument en do / Berklee

L'une des premières choses qui vient à l'esprit lors de la lecture du titre de l'orgue Symphonie #9 ' Pathétique ' par acteur Schneider est une autre oeuvre avec cette épithète : Symphonie #6 Tchaïkovski. Et ce n'est aucun un hasard : le compositeur en ce qui concerne son oeuvre d'orgue en hommage à cette ' soeur aînée '. Alors que Tchaïkovski, dans un programme secret, fait sa propre vie pour constituer une lutte longue épreuve au point de son suicide soupçonné, acteur Schneider présente ces heures comme le conte ultime du malheur dans laquelle Jésus avait bel et bien devenir humain, mortellement portant la douleur et la misère de toutes les personnes. ' Gethsémani ', ' Geiselung : Ecce homo', ' Golgatha ' et ' Grablegung ': Maria Magdalena' sont les noms des stades et des mouvements. Le mot grec 'pathos' signifie ' forte émotion, se sentant, passion ou des souffrances ' - de Schneider orgue Symphonie #9, cela se réalise, musicalement, dans son conflit interne, lutte, s'attaquer à son destin, la cruauté de la crucifixion et le silence mortel. / Orgue

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Ebner-Eschenbach, Maria von / Telemann, Georg Philipp / Agricola, Johann / Strittmatter, Eva / Schumann, Robert / Eham, Markus / Brockes, Barthold Heinrich / Pärt, Arvo / Rückert, Friedrich / Schweizer, Rolf / Hüsch, Hanns Dieter / Rößler, Martin / Juhre, Arnim / Claudius, Hermann / Busta, Christine / Oosterhuis, Huub / Marti, Kurt / Buber, Martin / Zenger, Erich / Müller, Wunibald / Rilke, Rainer Maria / Stutz, Pierre / Cardenal, Ernesto / Jackson, Mahalia / Rennert, Jürgen / Sölle, Dorothee / Wessenberg, Ign. H. von / Picander, Christian Friedrich Henrici / Maillet, Fernand / Mattheson, Johann / Hildebrandt, Regine / Claudius, Matthias / Zenetti, Lothar / Luther, Martin / Biller, Georg Christoph / Saubert, Johann / Lehmann, Karl Kardinal / May, Karl / Claudel, Paul / Spinner, Lukas / Swieten, Gottfried von / Weil, Simone / Goethe, Johann Wolfgang von / Hoffmann, Ernst Theodor Amadeus / Stael, Germaine de / Bonhoeffer, Dietrich / Schweitzer, Albert / Stein, Edith / Hermlin, Stephan / Barth, Karl / Wieland, Christoph Martin / Green, Julien / Goes, Albrecht / Fischer-Dieskau, Dietrich / Ben-Chorin, Schalom / Rilling, Helmuth / Messiaen, Olivier / Bachmann, Ingeborg / Müller, Wilhelm / Stadler, Arnold / Zuckmayer, Carl / Joyce, James / Hesse, Hermann / Silesius, Angelus / Schneider, Reinhold / Walter, Silja / Fried, Erich / Flaubert, Gustave / Freiherr von Eschstruth, Hans Adolf / Hansjakob, Heinrich / Paul, Jean / Printz, Wolfgang Caspar / Kant, Immanuel / Erhardt, Heinz / Davatz, Hans / Schwarz, Ernst / Delbrel, Madeleine / Reich, Christa / Seuse, Heinrich / Schmidlin, Johannes / von Bingen, Hildegard / Usinger, Fritz / Augustinus, / Harnoncourt, Nikolaus / Zweig, Stefan / Nicolai, Philipp / Celan, Paul / Dietrich, Wolfgang (Trad.) -/ Répertoire / Divers

Edited by Baroque scholar Judith Schneider, with expert fingering suggestions by Stuttgart Professor Maria Sofianska, the long-awaited Volume II of Bach's essential masterpiece contains 30 pages of extensive research and insight into Baroque music. Painstakingly compared with the most important autograph and manuscript sources, this comprehensive edition includes thorough analysis of written and improvised ornamentation, a discussion of period keyboard instruments, insight into pedaling, touch, tempo and rhythm issues, as well as a discussion of preludes and fugues.

Editée par la maison d'édition Bookmakers International, la partition musicale ayant pour titre Vantage point vous fera découvrir au travers de ses 96 pages, des morceaux de Deus. Cette partition qui se joue pour Piano/Vocal/Guitare (PVG) et plus particulièrement pour Piano, Voix Et Guitare est à classer parmi la catégorie musicale Variété Française. / Piano/Vocal/Guitare (PVG) / 96 pages / Partition

CD inclus avec le livre contient 37 mélodies plus de 200 chansons et 550 pages ! 64 Classic Jazz, Jazz contemporain 98, 5 afro-cubains et 12 Latin Jazz. 2 Degrés est,/ Recueil / Instruments en Mib

Le line-up de compositeurs qui ont contribué avec enthousiasme à ce projet est extraordinaire : Luke Bedford, Victoria Borisova-Ollas, Cristóbal Halffter, Alexeï Igudesman, Ennio Morricone, Arvo Pärt, Daniel Schnyder, Salvatore Sciarrino et Johannes Maria Staud. Chacun ont fourni un morceau de courtes violon solo accessible comme un moyen de l'introduction de jeunes musiciens en développement pour les sons musicaux de leur temps.La collection résultante englobe une grande variété de styles et de couleurs musicales. Certaines compositions sont, en fait, facile à jouer, alors que d'autres présentent des défis nouveaux et intrigantes.Pour les joueurs intermédiaires aux plus avancées / Violon

Par HERNANDEZ A.. Método intuitivo de audición musical aplicable a la enseñanza primaria y secundaria. A lo largo de este libro estudiamos los instrumentos más importantes de nuestra cultura y sociedad, así como el carácter tímbrico-expresivo de cada uno de ellos y las posibles combinaciones sonoras de éstos al servicio de la expresión del compositor.esentan audiciones originales y breves que responden a cuatro grandes bloques: Naturaleza, Fantasía, Sentimiento y Arte. Asimismo se incluyen unas notas biográficas que nos acercan a la personalidad y carácter de cada compositor./ Méthode / Opéra Théorique ou Didactique